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Il Più Bel Nome Il Più Bel Nome Antonio Caldara Barcelona, 1708

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Il Più Bel Nome Il Più Bel Nome Antonio Caldara Barcelona, 1708 page 108/1 Antonio Caldara Antonio Caldara Il più bel nome Antonio Caldara Barcelona, 1708 Il più bel nome Il María Espada Robin Blaze Raquel Andueza Marianne Beate Kielland El Concierto Español Concierto El Agustín Prunell-Friend gcd 920310 El Concierto Español Emilio Moreno – Moreno Caldara_BL_Sémélé 12/05/10 13:23 Página 2 page 2 Emilio Moreno Caldara_BL_Sémélé 12/05/10 13:23 Página 3 page 3 El Concierto Español Cor de Cambra d’Antiga de l’esmuc (Lambert Climent, musical director) Emilio Moreno, direction Venere María Espada, soprano Paride Robin Blaze, countertenor Giunone Raquel Andueza, soprano Ercole Marianne Beate Kielland, mezzo-soprano Il Fato Agustín Prunell-Friend, tenor Production of Il più bel nome: Centre Robert Gerhard Musical edition: Emilio Moreno Recorded live in Lleida (Auditori Enric Granados), Spain, in November 2009 Engineered and produced by Aline Blondiau and Manuel Mohino Executive director (El Concierto Español): Mónica Hernández Artistic co-ordinator (El Concierto Español): Miguel Ángel Aguilar Rancel Executive producer & editorial director (Glossa/MusiContact): Carlos Céster Editorial assistance: María Díaz, Pierre Élie Mamou Design: Valentín Iglesias © 2010 MusiContact GmbH This recording is dedicated to the memory of Carles Riera (1956-2009) Caldara_BL_Sémélé 12/05/10 13:23 Página 4 page 4 El Concierto Español violin recorder Emilio Moreno* (solo) Guillermo Peñalver Antonio Almela** (concertino) Fernando Paz Isabel Serrano** (principal 2nd violin) Santi Aubert oboe Esther Buendía Albert Romaguera Martín Domínguez Xavier Blanch Carlos Gallifa Adolfo Giménez-Tudurí bassoon Nuno Mendes Quim Guerra Elías Rodríguez Daniel Vilarrubias horn Javier Bonet viola Vicent Navarro Antonio Clares* (principal) José Manuel Navarro trumpet Remei Silvestre René Maze Ricard Casany cello Antoine Ladrette (solo) harpsichord Urko Larrañaga Eduard Martínez double bass theorbo & baroque guitar Silvia Jiménez Enrike Solinis * soloist on track 1 of cd 1 (Sinfonia) and on track 20 of cd 11 (Aria “Al grande onor di sposa”) * * soloists on track 19 of cd 1 (Aria “Quando si mira”) and on track 17 of cd 11 (Ritornello) 4 Caldara_BL_Sémélé 12/05/10 13:23 Página 5 page 5 Cor de Cambra d’Antiga de l’esmuc soprano contralto Aina Martín Aránzazu García Oncina Anaïs Oliveras* Anna Valls i Puig* María Elena Medina* tenor mezzo-soprano Joan Eudald Castelltort Cristina Koch* José Gil Férez * soloists on track 2 of cd i (Coro “Correte, amori”) 5 Caldara_BL_Sémélé 12/05/10 13:23 Página 6 page 6 Antonio Caldara Il più bel nome cd 1 [54:32] Prima parte 01 Sinfonia 3:29 02 Coro di Seguaci della Bellezza: Correte, amori 2:56 03 Recitativo: A voi, spiagge felici 1:33 04 Aria: S’egl’è ver che amasti un dì 4:09 05 Recitativo: Io per tutti, cui serpe 1:43 06 Ritornello 0:19 07 Aria: Chi ben ama un solo istante 2:15 08 Recitativo: Gloria vana e fugace 1:06 09 Aria: Spezzar quella catena 2:09 10 Recitativo: Perdona, o non amasti 1:21 11 Coro di Seguaci della Virtù: Qui dove ha lieta 0:40 12 Aria: Cari Elisi, stanze amate 3:03 13 Recitativo: Spirti beati, e chiari 1:44 14 Ritornello 0:20 15 Aria: Dati pace, e credi a me 3:21 16 Recitativo: È una lusinga vil di cieco amante 1:27 17 Aria: Guarda la palma 3:20 18 Recitativo: Or vedi quanto vile 1:44 19 Aria: Quando si mira 4:00 20 Recitativo: Or tu che a me contrasti 2:11 6 Caldara_BL_Sémélé 12/05/10 13:23 Página 7 page 7 21 Ritornello 0:15 22 Aria: La beltà ch’è troppo vana 2:20 23 Recitativo: Io con modesto freno 1:21 24 Ritornello 0:14 25 Aria: Così fai 1:57 26 Recitativo: Ma tu qual ti prometti 1:37 27 Aria: Il bel nome di amante fedele 3:49 cd ii [62:59] Seconda parte 01 Recitativo: Misero amor! 1:48 02 Aria: Amor risponderà 2:24 03 Recitativo: Odi l’audace! 1:15 04 Aria: Quella Liria innamorata 4:34 05 Recitativo: Dive, le gare intesi 1:42 06 Aria: Per lei tranquillo è ’l mar 3:33 07 Recitativo: Diva di me più grande? 1:34 08 Ritornello 0:15 09 Aria: Dimmi dov’è quel nume 1:58 10 Recitativo: Il saprai per tua gloria 1:55 11 Aria: Più non sono la più bella 3:02 12 Recitativo: Tu, Giuno, in Citerea 1:53 13 Aria: Quel pastorello 4:59 14 Recitativo: Se tanto è gloriosa 0:37 15 Aria: Quel core, quel viso 2:50 16 Recitativo: Quella che fa gl’eroi 1:15 17 Ritornello 0:18 18 Aria: Quando a lei sarà vicino 3:11 19 Recitativo: Ma che vegg’io? 1:42 7 Caldara_BL_Sémélé 12/05/10 13:23 Página 8 page 8 20 Aria (con trombe e istromenti): Al grande onor di sposa 4:24 21 Recitativo: Io che dagl’astri al suolo 1:33 22 Ritornello 0:14 23 Aria: Gran bellezza io veggo in questa 3:12 24 Recitativo: Tanta beltà in Elisa? 1:20 25 Aria: Te’l confesso, o bella Elisa 3:09 26 Recitativo: Dovuta lode! 1:48 27 Aria: Nel mio cor scritto vedrai 3:45 28 Recitativo: Su, risponda l’Eliso 0:36 29 Coro: Chi sente di Elisa 2:08 Acknowledgements From here we would like to express our gratitude to all those who have always had confidence in our plans and undertakings, especially to the Centre Robert Gerhard (which is charged with promoting and disseminating the Catalonian musical heritage) for its whole- hearted and unqualified support, to those who have applauded and encouraged us, to those who have contributed with their wisdom and learning, their patience, their time and their friendship, to the Escola Superior de Música de Catalunya (esmuc) for making available its resources to us, and also to those who are hoping and waiting for El Concierto Español to become a positive force in the culture of our country. Special thanks go to all the singers and instrumentalists who have provided us with their estimable contributions for this production, thereby turning into sound that which Guillermo Peñalver, as always, has assisted in computerizing so as to provide precise and easy to use working scores. In alphabetical order: Margarita Aguado, Pilar Alén, Pablo Álvarez de Eulate, Aline Blondiau, Josep Borrás, Salvador Capdevila, Carlos Céster, Lorenzo Coppola, María Díaz, Josep Dolcet, Roser Gort i Riera, Eulàlia Fantova, Kity and Maribela Gutiérrez, Antoine Ladrette, Josep Margarit, Charo Martín Crespo, Guya Martinini, Manuel Mohino, José Miguel Moreno, Lucía Moreno, Carola Murillo, Oriol Pérez i Treviño, Arturo Reverter, Carles Riera (†), Verón ica Rodríguez Brassó, Jaime Rosal, Isabel Serrano, Purificació Terrado i Pablo, Eduardo Torrico, Yara Vaello, Mark Wiggins. El Concierto Español 8 Caldara_BL_Sémélé 12/05/10 13:23 Página 9 page 9 photo: Mónica photo: Hernández 9 Caldara_BL_Sémélé 12/05/10 13:23 Página 10 page 10 English that time, especially in the Teatre de la Santa Creu, for Il più bel nome example, on the very same Rambla. That taste for opera had been developing in Barcelona Componimento da Camera during the 18th century, paralleling the progressive eco- per Musica nomic recovery of Catalonia, and little by little a remark- able degree of sophistication emerged (Così fan tutte, which had been premièred in Vienna in 1790, was staged in Barcelona in 1798 – an opera which however, did not reach London until 1811). The seed of the future passion for opera i. the ripening seed had been sowed in an unforeseen and most fortuitous fash- ion, when Barcelona unexpectedly became once again a During at least the last 150 years Barcelona has deemed courtly setting, some three centuries after it had last ceased itself to be an operatic centre of a certain rank, and in to be so. This occurred in the autumn of 1705 when the the heat of the Wagnerian fever, the height of Catalonian Archduke Charles of Austria, the second son of the emper- modernisme, it liked to think that it was – no doubt with a or Leopold, disembarked in the city in order to establish his touch of complacency – an avant-garde operatic centre. This court there, having been accepted as king by the subjects of had become possible, from the beginning of the 19th centu- the Crown of Aragón, who were opposed to Philippe ry onwards, as a consequence of industrialization in d’Anjou, who had been crowned King of Spain. Only twen- Catalonia. This encouraged the growth and gradual ty years of age, Charles had just arrived from imperial strengthening of a middle class, which eventually felt itself Vienna; inevitably he found Barcelona to be very provincial sufficiently strong to hold its head up in comparison with in comparison, equipped with few attractions capable of its counterparts elsewhere in Europe; and one which, in stimulating his marked love of music (he himself was quite 1847, brought about the building of an opera house, the a decent composer). He was immediately needing to secure Gran Teatre del Liceu, tailor-made to its needs for leisure musicians for his entertainments, yet his most spectacular and ostentation. But the passion for opera of the great contribution to the musical life of the city took place a lit- Barcelona middle class was not born from a whim, out of a tle later, in 1708, on the occasion of his marriage to Princess simplistic imitation of the habits of the European bour- Elisabeth Christine of Brunswick-Wolfenbüttel, for which geoisie, arising instead from the legacy of the city’s strong- event he commissioned an opera in celebration of St ly entrenched tastes. The construction of an opera house Elizabeth.
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